The achievement of correct fine-tuning of electric bass guitars is a difficult procedure which is often performed by means of an electric tuning instrument or meter. For example, it is difficult--because of the deep tones--for the musician to hear when correct intonation has been achieved. Furthermore, the operation is awkward, one reason being that the tuning machines are located on the heads of the bass guitars far from the regions where the strings are being plucked or strummed.
Furthermore, it is desirable for the musician to effect fine-tuning rapidly, and without becoming conspicuous, sometimes even during the course of a particular instrumental number. The need for such an operation may occur, for example, when the musician senses that one or more strings has becomed detuned as a musical performance progresses.
Despite the above factors, it has long been conventional practice to tune electric bass guitars by use of tuning machines only, such machines being located on the heads of the basses. When a tuning machine is operated, it not only involves a certain amount of awkwardness and conspicuousness, but it is more difficult for the musician to achieve the exact pitch desired.
As is well known, the tensions--and thus the pitches--of the strings of bass guitars are not the only factors which must be controlled in order for the instruments to play properly. There must also be correct string lengths, proper spacing of the strings above the fingerboard, and proper spacings between adjacent strings. Correct string length varies with certain factors, including string diameter, and is (for each separate string) caused to be such that the node of the fundamental will be located over a particular fret when the string is vibrating free (not contacted by the fingers of the bass guitarist). To achieve both the desired lengths of strings, and desired spacings above the fingerboard, without at the same time disturbing the lateral positions of the strings (proper spacing of the strings from each other, and from the edges of the neck), there must be individual vertically and longitudinally-adjustable bridge elements so constructed and mounted as to not "drift" laterally as the needed adjustments are effected, or at any time during playing of the instrument.
There has long been a need for a simple, rugged, reliable, aesthetically pleasing bass bridge which accomplishes all of the above-specified effects, yet does not generate any drawbacks in comparison to prior-art bass bridges. For example, some musicians use the heels of their hands to effect muting of the strings by pressing thereon immediately adjacent the bridges. While such muting is being effected, other portions of the hands are over the bridges themselves. Accordingly, it is important that a bass bridge not have a high profile, and not be characterized by the presence of elements which jut out (especially, upwardly) to any significant extent.